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Shot this on the red one mx - The Red One MX - dynamic range is not there, but it has a look, some kind of unique look - not like film, not like the alexa, but it's own look - older but its there - something nice, kind of like the what's that camera from China - the Kinefiniti shot with red zoom lensses - 18-50 + 50=150 plus ultra contrast 1 - man that flares nicely. ultra con gives such amazing flares - where have you been my whole life. So screw new cameras, get an old used camera and mess around with it. shot at 640 ISO, 4.5k , and that's it 11 stops dynamic range, 10 stops? who knows, who cares. it works - it doesn't overheat. it doesn't shoot slo motion unless you crop it but the motion cadence feels right, not like a videogame like the dragon or weapon or slimer new camera they have. find its weaknesses, find its strengths and shoot some stuff. don't be afraid to go into the past and be made fun of, and who cares, just work with your camera as best as you can, and make mistakes constantly and try to get better. lord knows how i screwed this one up, i should have done more wideshots and had more variety of poses of people

You're having a paranoid fantasy, Marco. I design the Speed Booster optics, and my colleague Wilfried designs the mechanical mount. Together we own the optical design patents and the "Speed Booster" trademark. That's it - just two people. We work with subcontractors to manufacture and QC the optical cells, and sell the those cells to Metabones, which itself is just a tiny company. Any public statement from Metabones about Speed Boosters probably comes from me, so when you say that Metabones is lying you are essentially saying that I am lying. There is no lying going on here. I doubt that Samsung - which is a truly enormous company - was even aware of Speed Boosters, much less that its presence or absence played any role at all in their decision to leave the camera business. No one from Samsung or Sony has *ever* contacted me about Speed Boosters, or anything else for that matter. Wilfried and I looked at the Samsung NX mount on several occasions, and concluded it was just too much trouble to deal with due to the metal parts surrounding the sensor. Based on our analysis, it would require several rectangular elements (similar to one of the Lens Turbo designs), which are much more difficult to make and mount accurately. It would also require a substantial re-design of the Speed Booster optics, which have a unique performance advantage at extremely large apertures (read the patents if you want to understand this). I personally had big hopes that the NX-mini mount would take off, since that was much more amenable to high quality focal reducer designs with larger reduction ratios - much like the BMCC and BMPCC from BlackMagic. But unfortunately both NX and NX-mini have both become extinct except for whatever product remains in the marketplace.

Just want to show you my solution to use faderND filter as polarising filter at the same time (cost: £8.95). It is very simple, but surprisingly hard to find such informations in the net. If you have faderND filter, it is (always?) made from 2 polarising filters. Like mine: When you use it, the problem is, that you rotate front polarizer and stop it on random angle, so you have no control over which polarization you accept (most importantly - which polarisation you completely cut off). So it is not only useless as Polariser, but sometimes it can cut off the reflections which shouldn't be cut. The solution is simple - buy a rotating spacer ring like mine (here put on a 43-52 step up ring for 52mm FaderND): I bought mine here (they have really cheap Europe shipping) - http://srb-photographic.co.uk/rotating-spacer-rings-1126-c.asp If you use step-up ring - put the spacer ring after step-up ring (if you put it before, you can introduce a lot of vignetting). How to use it?: Screw Rotating spacer ring and than your FaderND. When you set up all parameters, first rotate FaderND to proper ND level (you have to hold spacer ring not to rotate, because it is rotating much lighter (in my case)), and then rotate whole filter with your new spacer ring to adjust first polarizer angle (spacer ring rotates really light, so it is impossible [in my case] to change ND level by accident). To make it even simpler, I made a test (LCD monitor is polarised so it is very helpfull) and marked a vertical and horizontal position of front polarizer with lacquer dot (if it's on top, I know that it's close to vertical/horizontal polarization): It is really very fast and simple to use. Don't throw your money on additional polarizer (and don't add additional glass in front of your expensive lens) you have it already, but you wasn't using it. NOTE: Spacer ring adds some space before filter, so can make some vignetting if the filter is not big enough for your focal length.

I would take the discount just because he clearly tried to see if he could make those scratches unseen. But I wouldn't return it, you made it look worse from the reading until I saw the picture

Ask him to send you a sharpie.

Enjoying this cam a lot now after getting used to it over the last couple of days. Bought the 15/1.7 & SLR Magic 52mm Vari ND. Nice combo. Amazing little lens.

We replaced our backup 5D3 with a 1DX II: shooting both stills and video. The 1DX II / 1DC are great 'stealth' video cameras. Our main video camera is now the C300 II. PDAF, a swivel screen, pro audio, great 1080p (4K is not need for our current projects and Premiere still struggles with 4K material (each PP CC update is hit or miss- sometimes 4K works better, sometimes worse. FCPX handles 4K fine (even with high quality rendering / no transcoding)). Thus the C100 II really is a great deal right now- fantastic 1080p, pro audio, swivel screen, PDAF, tiny files, Canon color, etc.

I think they are both great cameras, with their own unique looks. With MKiii you get ML Raw and it's simply gorgeous. With the 1Dc you get Canon LOG, equally gorgeous IMO, just different. Of those options, if you can afford it, I would go with the 1Dc... when paired with the right glass, the image is on a different level. There's just nothing else like it at that price point. But, in all honesty, if I had $4000 to spend, I would probably get a C100 mkii before either of them... DPAF, 60p, small file size, Canon LOG, XLR professional quality audio... a truly professional level video camera. You may be able to find a used C100 mkii and a used A7Sii if you're really interested in the Sony.

Personally I switched from the 5Dmkiii with Raw to the 1DC. And honestly I was a bit underwhelmed. Its a nice image but not that much better than the ML Raw. And not enough imo to justify the extra cost and lack of video features. Not a fan of the ergonomics either, comfortable grip but annoyingly tall imo. But... I didnt use any of them for stills. If you shoot alot of stills the 1DC is a monster just like the 1DX. I also had the a7sii but again, rather have a 5D. Would choose the 1DC over the a7sii as well.

Get a samsung nx500 for portability, hack it and you'll have h.265 at 180mb/sec. Then buy a nxl focal reducer to be able to use canon ff lenses (and many from other brands) on it with a 1.1x crop.

Hallo Inazuma, no problem, I'm not offended. I do not think Metabones has not been able to create the adapter, I think simply that their engineers have not even tried to manufacture it. The reason is simple, they use a lens focal reducer support standards that can not be used on Samsung NX. This standard support is used for all lenses by changing only the ring and the mounting flanges. To create the NXL I had to shape the lenses and design a new type of support. Soon the first supporters will receive their NXL adapters and they will post pictures and what is necessary to satisfy your curiosity.

I take back what I said in my last post. I just did some side by sides with my Nikon D5500 on the Flat profile (which i've previously described as having as much DR as the C100 II) and the Fuji is actually as good or better. Attaching screencaps. Some extreme dynamic range tests. Here's the D5500 with Flat profile The Fuji at 1080p with ProNeg Standard profile, -2 shadows and highlights, -4 sharpness. +1 stop of exposure compared to the Nikon (because the Nikon is brighter at the same exposure settings) The Fuji at the same exposure settings as the Nikon: Now with contrast at -100 using the Lumetri panel in Premiere Pro: These were all at 1080p. At 4k there is even more headroom and the colours tend to be noticeably nicer.

That's understandable. Other than my XC10, I've only ever used low end DSLRs. Because I love the Canon Log out of the XC10, and since I cannot afford a C100, I've decided I am probably going to get an 80D... for close ups and DPAF. Hopefully I can match the two. If I was contemplating switching DSLR brands, I would go with a Nikon D750 or D500 before I'd go with a Sony. I get the appeal of the A7Sii, but I'd rather deal with Nikon Flat profile before SLog... But I am not that great of a colorist either. So with all that being said, I'd definitely pick the 1DC before the Sony. But that's just me... Or wait a year and get the 1dxii used for the same price the 1DC is going for now. The C300ii is beautiful. In the recent C500 thread, Kino recently posted some clips from the internal 10 bit 1080p and it looks amazing.

Raw files. SAM_0039.SRW SAM_0040.SRW

I used the C300 professionally for a while and loved it (and the C100), but for my personal projects I'd prefer the option of either building up a cage (I've got the Wooden Camera one) with an external recorder and monitor, or travelling light with just the DSLR. DPAF is the one thing I really want but not a deal breaker. A7S II just seems like the practical move but again I feel like the 1DC might be one of those unique looks that become vintage in the future.

Hey Brian, how much opportunity cost are we talking here? I'm not going to back down from my 10k offer though I suspect that wouldn't exactly cover things, just a feeling, lol. On the other hand it would be a bit irritating to pay it out and then find out it wasn't so hard after all (possibly, I'll have fun taking a shot either way). I'm referring to the electronics of course though rather than the lenses. Also, a question about that for you, is something like an Arduino Nano micro controller really fast enough to handle the spi at native speeds? I'm going to prototype with one in either case, but if it's not then I may move to FPGA later if the Nano is functional and just sluggish. Luca, I would prefer to be one of those supporters, but I guess I'll have to wait for those first shots from others if you're not feeling up to posting two raws, same lens, same framing (tripod), same focus, same aperture. I know you have video samples, but since I'm not much of one for video that's just not my evaluative area.

The only thing you can do is ask what is acceptable to use (they'll normally have a list of cameras) & rent for this one job, if it pays or gets you more work then consider buying something to keep getting broadcast work. Also, ask if what you're using will be good enough. Having worked for the BBC, I know that broadcast standards are pretty high & it is more to do with how they have to deliver the footage. Therefore DSLR footage just isn't going to cut it in most instances, because they have to compress the footage into a deliverable format & in most cases it will fall apart - hence the 100Mbit/s min requirement. The special permission aspect is almost certainly to do with the fact that they'll have to spend extra time/money getting your DSLR footage up to scratch & they really don't like doing this - they'll see it as a waste of time & money, unless your piece is something that is going to get a lot of interest/viewers (ratings, it's all about ratings). Don't let something like renting out a camera for a job put you off - this is your break & treat it as such.

At this point, NX accessories are probably best done by NX enthusiasts like Luca. Otherwise something called "opportunity cost" rears its ugly head. What it means is that labor and financial resources are limited - especially in small companies - so you have to be very careful about choosing which products to develop.

It is ironic that networks require this since the technical quality they deliver is often so poor. Note this frame grab of NBC footage from the Olympics. It is smeared, blurry, full of artifacts. Their excuse would probably be "it's not us, it's Comcast". However transmission of network content is a signal chain that's only as strong as the weakest link. If they permit gross degradation of image quality at any point in the chain, then being persnickety about technical matters at other points is simply lost in the noise. It implies they don't really care about image quality. The technical quality of NBC Olympic content delivered to end users was so bad that the below footage from 1894 was actually better. Imagine that -- some of the first film footage ever shot, and it's better than what NBC delivered. Despite having supercomputers on a chip, satellites in space, and optical fiber spanning the globe, the delivered quality was worse than an old piece of film.

Didn't mean to start the ole Apple vs. Samsung debate. If you say that one phone is superior and the other is garbage then you're kidding yourself.

Ok, thx for this reply. Good to hear directly from you. So...what about developing an intelligent nx to canon adapter, with no lens in it? Why not doing this? Ok, thx for this reply. Good to hear directly from you. So...what about developing an intelligent nx to canon adapter, with no lens in it? Why not doing this?

50 pages is a lot to look back through, but I don't remember seeing any settings posted here for a while. After a lot of testing, I've arrived at Natural -3 -5 -5 -3, Highlights / Shadows -2 / +2 for video. iDynamic and iResolution off. Opinions? I reckon I'm getting better skin tones that with my Sony A7R II. This is a great camera. The biggest problems are the (very) poor EVF and LCD and the lack of audio input. Unexpectedly (I was a guest) I ended up having to shoot stills for a wedding with the GX80 yesterday. The quality of the images blows me away and being able to use a tiny MFT body is very liberating.

It's a cosmetic scuff. I personally wouldn't even give a damn about it.

Personally I call that regular ware. $200 sounds totally fine. I also buy and sell alot of cameras and wouldn't be to worried about a small scratch. People in the market for a 1dx/c buys for preformance and not so much cosmetics.

I make my money managing IT folks; I am a hobbyist photographer / videographer.

Thanks. It's a Gordy's ... they make nice straps. http://www.gordyscamerastraps.com

If you are used to shooting on Canon and have a well developed post workflow, then I'd stick with Canon. I'm assuming you are not shooting extreme low light with the M1 and a 2.8 lens, so the XC10 might be your best bet to keep it small and unobtrusive. Otherwise a C100 + ninja star, or 1DC.

export the master file in pro res and tell them you shot it on whatever their favourite camera is. If the image is broadcast legal, in focus and has minimal noise you should be fine. i suspect you probably lens your work nicely- which is where so much of the look comes from. As a Gh4 user i can strongly reccomend going with that and speed boosters for your current lenses.

I say if you're comfortable with your gear and you feel it offers you creative flexibility, stick to it. Have a conversation with the station manager. Send the broadcast station some of your work, have one of their goofball engineers scope it out, and just go ahead and ask for the special permission. Broadcast specs are guidelines. If it looks good and the story is good, they'll make exceptions. If they don't, then there's something wrong with them not what you're providing them. Good craft and story should trump limited specs. You should see the stuff that's presented on the local PBS station where I'm at. The fact that they shoot on "pro" cameras is irrelevant. Bad shooting is bad shooting. And if you're doing great audio then that already makes it better than most, so see what they say.

Quite fast, I think a bit faster than the 25/1.4 too. The 20/1.7 was one of the first m4/3 lenses that I owned (with the Olympus 45/1.8). I loved that little 20mm lens except I lost a lot of shots due to missed autofocus (mind you of my kids that don't stop moving). It was pretty good for manual focus with video and I liked the angle of view and had nice rendering.

I always struggled with this too in both RAW and JPEG. You can see a test I did with the G7/GX80/LX100/E-M5II here where I balanced everything before shooting. I find the GX80 to have much more pleasant colours than any of the Panasonic cameras that I have used so far. Here's hoping that the GH5/G80/LX?? use similar colour. https://www.youtube.com/watch?v=dGXsDFfKDxE

C100markII or C300(I or II) seem like a safe bet, very easy to use, the C100 is rather small as well (not M1 territory, but still), but you have to be specific with your codecs, C100 par example has a much lower bitrate than the afforementioned one. You have to ask specifically what cameras do they accept, it will be a petty to create technical obstacles for no reason, and M1/2 are rather bad video cameras, you can easily surpass them and got better results. Do you have a site? Your story sounds really optimistic and worthfollowing. Goodluck!

I usually build stuff like this in Photoshop. This is not a music video pitch but it follows a similar layout. It's the 2-page "sell sheet" I made that was used to pitch Down and Dangerous (my microbudget crime drama) to cable and satellite VOD providers across the US & Canada, as well as, Paramount Pictures for international distribution. Fortunately, we happened to have the type of movie they were looking for, but I'm sure this didn't hurt. Anyway... I find Photoshop makes this sort of thing pretty easy to create, and revise, and revise, and revise...

According to your needs. According to mine the Samsung NX1 couldn't reach the level of the much older and cheaper bmpcc. According to deep sea divers none of them reached the level of the yet even older Gopro. You dont see the "wow" of the Fuji for the same reason I dont see the wow of the GH4. Its simply not for us.

Love the film. We should also note that Ed is only listed as the DP, which implies that he neither wrote the script nor came up with the hashtag, so maybe we should confine our comments to his cracking camera work.

Nice job. That's pretty much the opposite of promoting hate. I think some people misread the title or are dyslexic.

are you saying Ed's video was promoting hating Trump? that's ridiculous. the video only promotes love, and the hashtag reads to me more like "Trump hates, and we have risen above him". the high road rarely involves violence. and Trump definitely hates. not that we should talk any more about politics ever. beautiful work, Ed! I thought I'd heard that camera has 13 stops?

^ Hah. I like this piece Ed. I saw you were tagged in it and watched it. It has a nice look, perfect for the piece. Bought the F3 because I like the stuff you've done with yours. Old camera but the color is great, totally blown away for the price. People should experiment with different cameras and break the molds a bit. Shot with the Fuji XT-2. Can't believe how nice the baked in color/resolution is out of that thing.

Just posted this today. Footage a bit rough--but no grading here, just minor exposure adjustments to make corrections the best I know how. Rough shooting because of harsh sunlight going in and out with frequency. But I wanted to see how good the colors and footage would be out of the camera.

Therefor the iPhone 8 will be the airPhone. It's where, for your convenience and the enviroment's sake, we take the phone out of the equation altogether. Now, that takes courage. But Apple is all about changing the game, being innovative and implementing never seen before breakthroughs like that. We know you hipsters care for the environment, so how can we work together in making the world a better place? The airPhone is the answer. It's not so much a device as it is a movement. It's a key that unlocks a whole new world of communication. In the future to connect with people, just come to a Apple temple near you or meet new people in one of the many other locations around the world. The airPhone gives you access to the exclusive temples that run on green electricity provided by mother nature, where you can just hang out and chill. Be yourself and interact with one another. We'll serve you with our delicious all natural and fair trade coffee along with Android inspired deserts and treats (if you can't beat 'em, eat 'em!) and green apples. Have a lot of environmental unfriendly bills in your wallet? We'll gladly help you recycle them. Just stop by at one of our locations to drop them off. Less. Is more. Be green. Have an Apple. ~ Eve Mitts | Sr. Product Developer @ Apple

Hmm, Metabone's complaint about the space isn't totally invalid. Their claim is that they couldn't make it fit and also be at the same quality as their other adapters (and I assume they mean while keeping down manufacturing costs as being sort of implied). Anyway, I'm very interested in this, If we can get one allowing good AF with EF lenses.... speedboosted or even just adapted I would be willing to put 10,000 USD towards a manufacturing run. In either case I would need to see the good performance in the prototypes first of course, for AF and optically. The size of the prototype doesn't bother me. For instance, if on the prototype an Arduino and external power, etc... are needed, so long as in the final production design it is constrained to being contained in the adapter (and here I don't mind quite a thick adapter). Others can tell you I'm good for my word, I funded most of the burner NX500 for the firmware hacking. SMGJohn, we do know what tools they used, but knowing the tools doesn't give us their source code. You can find the source for the camera OS and build instructions here: http://opensource.samsung.com/reception/receptionSub.do?method=sub&sub=T&menu_item=photography&classification1=digital%20cameras but it doesn't have the source for the camera app that runs at boot and really does everything camera related. This kind of change and repackage the firmware approach has been done before on the NX300 (someone added encryption) Vasile's approach is much safer since once the base firmware is modded all other changes are done outside of that and should be reversible with no chance of bricking. Vasile, I'm just afraid if I fund your lens you will lose your motivation, or worse, spend all your time taking photos :P

Now is the time to bring back multi-aspect sensors. The 4K crop on Panasonic's current cameras is a real shame. It would be great if they could put out something that downscales from the whole sensor and relegate the current method of 4K capture to the extended tele mode where it belongs.

A number "5" on its front.